As a term, expanded cinema generally refers to cinematic exhibition or spectacle in which the concept of established filmic practice and structure is broadened by incorporating immersive and dynamic elements as opposed to single-screen viewing experience. ‘Expanded’ components may be evident in the materiality of the spectacle, such as in the employment of numerous surfaces for a screening, juxtaposition of various interdisciplinary mediums not restricted to cinema, immersion of the viewer and encouragement of active participation and exploration. On the other hand, expansion can be related to intangible human sensorial and communicational capacities. However, the term and its historiography have been perpetually ambiguously perceived and debated
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As a result, up until today, ‘there seems to be hardly any consensus about the exact definition of “expanded cinema”’ . A well-structured terminology for expanded cinema, seems to be absent from major dictionaries as there is a tendency to reduce it to a merely moving-image beyond the constraints of cinema or provide the reader with an overview of key works that fall under the category . Nonetheless, it progressively seems to be associated with the expansion of space, extension of consciousness, immediacy of viewing or real time as well as is simultaneously utilised as a definition for experimental mixed-media works.
It is generally accepted that the term was initially introduced in a manifesto ‘The Culture Intercom’ issued in 1965 by American filmmaker and artist Stan Vanderbeek. Here Vanderbeek laid down his motivation and outlined his ideas for the ‘Movie Drome’ – a spherical theatre in which audio-visual collages would be projected as an information flow that would alter viewer’s …show more content…
Similarly, Uroskie stated that the emerging expanded consciousness was that ‘of the paradoxical site specificity of cinematic practise’ . Thus, situational, temporal and spatial aspects, thus its form, of expanded cinema have been those projecting its meaning for numerous artists and theorists. Both conceptually and aesthetically they sought to destabilise accepted conventions of exhibition and spectatorship, place expanded cinema between cinema and gallery viewing experiences and initiate an interdisciplinary transformation of arts and its institutions . In this definition, expanded cinema is seen as a stimulation of viewer’s active participation, awareness and recognition of the materiality of cinematic spectacle in space and time – its purpose and meaning are embedded in dynamic viewing. According to Valie Export, expanded cinema ‘is a collage expanded around time and several spatial and medial layers, which, as a formation in time and space, breaks free from the two-dimensionality of the surface’ . Her film called Ping Pong (1968), where a
As a result, up until today, ‘there seems to be hardly any consensus about the exact definition of “expanded cinema”’ . A well-structured terminology for expanded cinema, seems to be absent from major dictionaries as there is a tendency to reduce it to a merely moving-image beyond the constraints of cinema or provide the reader with an overview of key works that fall under the category . Nonetheless, it progressively seems to be associated with the expansion of space, extension of consciousness, immediacy of viewing or real time as well as is simultaneously utilised as a definition for experimental mixed-media works.
It is generally accepted that the term was initially introduced in a manifesto ‘The Culture Intercom’ issued in 1965 by American filmmaker and artist Stan Vanderbeek. Here Vanderbeek laid down his motivation and outlined his ideas for the ‘Movie Drome’ – a spherical theatre in which audio-visual collages would be projected as an information flow that would alter viewer’s …show more content…
Similarly, Uroskie stated that the emerging expanded consciousness was that ‘of the paradoxical site specificity of cinematic practise’ . Thus, situational, temporal and spatial aspects, thus its form, of expanded cinema have been those projecting its meaning for numerous artists and theorists. Both conceptually and aesthetically they sought to destabilise accepted conventions of exhibition and spectatorship, place expanded cinema between cinema and gallery viewing experiences and initiate an interdisciplinary transformation of arts and its institutions . In this definition, expanded cinema is seen as a stimulation of viewer’s active participation, awareness and recognition of the materiality of cinematic spectacle in space and time – its purpose and meaning are embedded in dynamic viewing. According to Valie Export, expanded cinema ‘is a collage expanded around time and several spatial and medial layers, which, as a formation in time and space, breaks free from the two-dimensionality of the surface’ . Her film called Ping Pong (1968), where a